Kevin Bresnahan

Ayinger Hefeweiss.

Stock is way down at all of the stores I go to these days. Too many buyers. Not enough sellers.

That may be true, but if an artist was under contract to a record label, the owner of the recording would have to get permission to release this for it to be legal. I believe that technically, the artist's label owns the rights to release it.

Regarding the Club Baby Grand recordings... according to Cuscuna: "I really don’t remember, but I think I never found the Baby Grand outtakes. Most likely, the material is not in the can. Whatever I got for discography listings probably came from Alfred’s session notes".

Thanks everyone. I had a great night with my girls.

No "Fire And Love" in this list... I'm surprised they didn't go for a few of the real rarities in here like Joe Lovano's "Tenor Time", Benny Green's "Blue Notes" (or "Funky") or Renee Rosnes' "Face To Face" (unfortunately only an EP). I do like George Adams' "Nightingale" where he proves that he can wrangle a Jazz ballad out of "Bridge Over Troubled Water". Although all of George's somethin' else CDs are worth hearing. Ralph Peterson's "V" (I think "5" is a typo) is an excellent recording. I may have to pick up Phil Woods' "Cool Woods" and maybe that Hino disc for Greg Osby.

What a great show that must have been. You're lucky you got to see that. I never got to see Lacy or Land.

I don't like paying vinyl prices for an LP pressing that's basically using a CD as the source. If it's full analog, I'll pay the extra money. If not, tell me and I'll buy the CD. Renee Rosnes' latest release came out on vinyl. When I found out that it was full digital, I just ordered the CD. I still get to hear it, just not on vinyl. The vinyl resurgence should die quickly if all they keep cutting is a vinyl representation of the CD.

If they would say how the vinyl is cut (analog or digital), I would order that. But like most vinyl today, no one wants us to know. I am not buying an LP of a track played back digitally. I'll buy the CD instead.

I asked Phil how he was doing with his emphysema at one of his shows and he said that he wished that he had never smoked. He said he had trouble taking a breath and that he needed oxygen when he got off stage. At his later shows, he started playing with an oxygen tube.

Good catch. Phil is not smoking in that picture.

You should digitize them before you send them anywhere. If you ship them and they get lost or destroyed, they are gone forever. If you at least back them up before you send them out, they can live on in digital land.

Yeah, but the rest of the band is not.

"Mess Of Blues" is not a favorite of mine. I didn't like the audio quality and I didn't like the music much.

Isn't that the Resonance Records model though? I have read several stories about the amount of work required to acquire the rights to issue just one of these dates. Wouldn't it be incredibly difficult to do so with enough material for a Mosaic box? Also, if someone somewhere has issued any of it, there goes another potential customer. We are already a dwindling breed - every sale matters.

I don't know how many LP sets were made but the rumor mill has always been that some deep-pocketed Japanese buyer bought up most of them for resale in Japan.

I really dug those bagpipes back in the day. I used to sit in the quad and listen to the guy play. The combination of the sun setting and the dirge-like nature of the guy's playing just made it feel like a funeral for the day. Call me weird, but I liked it.

When I was at UMass/Amherst in the mid-80's, there was a guy that used to play his bagpipes in the parking garage at dusk. It reverberated in there just right and you could hear it almost everywhere on campus. It was almost like taps. Sun goes down - bagpipes play.

Cheap too: https://www.ebay.com/p/Baptist-Beat-by-Various-Artists-CD-Jan-2014-EMI/177440384?iid=292546688579&_trkparms=aid%3D222007%26algo%3DSIM.MBE%26ao%3D2%26asc%3D50544%26meid%3Db09e32f2d3cd4060ac09848e09c974a6%26pid%3D100005%26rk%3D5%26rkt%3D12%26sd%3D132607403445%26itm%3D292546688579&_trksid=p2047675.c100005.m1851

Do you know of this LP/CD: https://www.discogs.com/Various-The-Baptist-Beat/release/3304735

If only Mosaic had let it slip that they were working on this box, they would have saved me some money and earned themselves another sale. I'm a huge fan of Mobley's music so when the Japanese started reissuing these dates, I paid big bucks to import them all. Big bucks that I would have gladly sent Mosaic's way if I only knew. This was one time when Mosaic's secrecy backfired on them - with me at least. Oh, and I have to add that I did buy the Mosaic later anyway, just so I could read the booklet and to see if the sound was better than what i had. After I compared the sound, I preferred the Japanese CDs so I eventually sold the Mosaic. What I should have done was ordered the LP set. Then I'd still have this box & booklet.

From https://earthobservatory.nasa.gov/IOTD/view.php?id=4818 most of Southern Florida is only about 32 feet above sea level. If sea level rose 33 feet, there would be a very different coastline and a new island.

Just finished - Zoot Sims - Suitably Zoot (Pumpkin Productions 108) - Al Cohn (tracks: A1, A2), Richie Kamuca (tracks: A1, A2), Zoot Sims (tracks: A1, A2, B1, B2); Bob Brookmeyer (tracks: B1, B2); Dave Frishberg (tracks: A1, A2), Roger Kellaway (tracks: B1, B2); Bill Crow (tracks: B1, B2), Tommy Potter (tracks: A1, A2); (tracks: B1, B2), Mel Lewis (tracks: A1, A2) This is another decent record from Pumpkin Productions, which I assume was a bootleg label in from the late 70's. They appear to have modeled their back artwork on the Xanadu label. Were they related? Flimsiest vinyl though... it's like one of those records you used to punch out of the back of a cereal box. Now playing - Duke Robillard - Swing (Rounder) - Duke Robillard (g, v), Scott Hamilton (ts), Chrisy Flory (g - "Glide On"), Jim Kelly (g - "Jim Jam"), Mik LeDonne (p), Phil Flanagan (b), Chuck Riggs (d). Nice try by Robillard but to my ears he sounds better in a straight blues setting, rocking it out a bit. This is a bit tame.

I wonder why Patrick Roques didn't fill in the openings in "LARRY" like he did for the rest of the text there?

Not that it matters a whole lot, but where is it written that Gearbox is paying the artists for these recordings? I believe that this recording is technically in the public domain in the EU, so there is no reason that Gearbox would have to contact the estate or make any payments. I'd be pleased to find out that they do.